La Mare au diable

A lonely Parisian woman comes to terms with her isolation and anxieties during a long summer vacation.

A serial-killer frightens Paris by phoning young ladies at night, telling them insults about their lives. Minos, as he calls himself, wants to prevent the world from free women and he targets at first these ones. Commissaire Letellier is given the investigation and he has hard work with the maniac.

Themroc, a bachelor house painter living at home with his mother, leads a sad and colorless life. One day, after a run-in with his boss, he rebels. He wrecks his apartment, rejects every facet of bourgeois life, and begins acting like an urban, modern-day Neanderthal.

Successful Parisian lawyer Frédéric is happily married to schoolteacher Hélène. Though he daydreams of affairs with other women, he doesn't come close to acting on such thoughts until he runs into Chloé, a beautiful old acquaintance. Tempted by the vibrant Chloé, Frédéric is torn between impulsive lust and his love for Hélène.

In the seacoast town of Boulogne, antique furniture saleswoman Hélène lives with her stepson, Bernard, who's back from military duty in Algiers. An old lover of Hélène's comes to visit, Alphonse, with his niece Françoise; he too is back from Algiers, where he ran a café. Bernard speaks of his fiancée, Muriel, whom Hélène has not met. The past is obscured by guilt, misperceptions, and missed possibilities. Appearances deceive, things change. As Hélène and Alphonse try to sort out a renewal, everyone seems off-kilter just enough to hint that all cannot end well.

On the eve of his wedding, on holiday on the Lake Annecy shore, career diplomat Jérôme visits an old acquaintance, perhaps a former girlfriend. Through her, he meets an intense teenager, Laura, and then lusts after her sister, Claire. Whilst Laura attempts to flirt with him, Jérôme's fantasy becomes focused on wanting to caress Claire's knee.

Four women are murdered, each knifed and, despite torn garments, remain virtuous. As famed police inspector Jules Maigret pieces the clues together, he comes to realise that for the elusive man that he suspects to be unmasked, he has to set a trap.

Boulevard focuses on Georges 'Jojo' Castagnier, an adolescent who lives in a poor room under the roof of a block of apartments in the Pigalle section of Paris. He ran away from home when he realized that his step-mother hated him from day-one. Among Jojo's many neighbors is the gorgeous Jenny Dorr , a nightclub dancer, whose lover he dreams of being. But, to Jojo's disappointment, Jenny becomes the lover of Dicky, a former boxer, who spends his time loafing about the Pigalle cafés. Jojo lacks for steady work, but manages to meet his financial obligations with a series of odd jobs. He tries selling magazines, which is a success for a while, though posing as Narcissus for two gay artists proves to be something of a disaster. Eventually, he woos Marietta, one of his other neighbors and a girl more suited to his age. But when things go really awry, Jojo becomes desperate and tries to commit suicide by jumping off the roof of his building

Two scriptwriters argue about the fate of Henrietta, a charming and gamine shopgirl. One favors a comical path for their heroine, who is overcome with sentimental love for a young photographer on Bastille Day. The other has a more thrilling and dastardly fate in mind for her. Among the film's irresistible conceits is Hildegarde Neff as an oversexed circus bareback rider.

In this comedy, set during the Nazi occupation of France, Peter Sellers plays most major male parts, so he stars in nearly every scene, always bumbling in inspector Clouseau-style.

Two young girls meet, Reinette from the countryside and Mirabelle from Paris, and decide to take a flat together in Paris where they attend University. Four successive stories about their daily lives illustrate the very different views, characters and relation to the world of these two friends.

It is based on upon the memoir Mémoires d'un agent secret de la France libre et La Ligne de démarcation by Gilbert Renault under his pseudonym Colonel Rémy. A small village in the Jura is split by the river Loue which creates the line of demarcation between Nazi occupied France and freedom. A French officer, Pierre, is released by the Nazi soldiers to find his chateau converted into a German command centre. Whilst he is obliged to co-operate with the enemy, his wife Mary supports the resistance movement and is willing to risk her life for it. The Nazis step up their activity against the resistance, insisting that any who attempt to cross the line of demarcation will be shot. When his wife is arrested, Pierre decides to switch his allegiance.

An old man, former clown, comes back in the neighborhood where he used to lived for the funeral of his ex-wife, and finds old friends with whom he had lost contact.

This telefilm in black and white is diffused on the first French chain the November 6th 1965. It undoubtedly remains the most known adaptation of the Dom Juan of Molière.

Pierre is a hotel cashier in Vichy, so shy that he answers an ad from the Psychology Institute and can't say no to the salesman, Aldo; he spends 6,000 francs on tapes, books, and a punching bag. Soon after, he's smitten by Agnes, a hotel guest with a model's looks and photographers wherever she goes. When she leaves for Nice, he follows, meeting Aldo on the way. Aldo becomes his boldness coach. Pierre gets a job washing dishes where Agnes is staying, but after a week or so, she's off to Deauville, with Aldo and Pierre in pursuit. Using funds they get by selling Aldo's car, this time Pierre poses as a polo-playing jet setter. Will this win the heart of Agnes?

Magali, forty-something, is a winemaker and a widow: she loves her work but feels lonely. Her friends Rosine and Isabelle both want secretly to find a husband for Magali.

Originally titled Nous Sommes Tout des Assassins, We Are All Murderers was directed by Andre Cayette, a former lawyer who detested France's execution system. Charles Spaak's screenplay makes no attempt to launder the four principal characters (Marcel Mouloudji, Raymond Pellegrin, Antoinine Balpetre, Julien Verdeir): never mind the motivations, these are all hardened murderers. Still, the film condemns the sadistic ritual through which these four men are brought to the guillotine. In France, the policy is to never tell the condemned man when the execution will occur--and then to show up without warning and drag the victim kicking and screaming to his doom, without any opportunity to make peace with himself or his Maker. By the end of this harrowing film, the audience feels as dehumanized as the four "protagonists." We Are All Murderers was roundly roasted by the French law enforcement establishment, but it won a special jury prize at the 1952 Cannes Film Festival.

The third part of Seventh Company adventures.

A French resistance group free twelve soldiers from a German prison camp, but apparently there's an additional detainee among them suspected of being an enemy spy.

In June 1940, during the Dunkirk evacuation of Allied troops to England, French sergeant Julien Maillat and his men debate whether to evacuate to Britain or stay and fight the German troops that are closing-in from all directions.

Danielle Darrieux stars in this French thriller as a singer having an affair with her accompanist. When her husband dies in an automobile accident, the two lovers suspect each other of having murdered him. Soon after, they receive 45 rpm records with the dead man’s voice, threatening to come back.

Gangsters from the United States try to kill a key government witness whose testimony could help land an influential mobster in jail. It's up to detective Maigret to deal with the FBI and a series of underworld figures to save the life of the witness...

A bourgeois family, who is harassed and humiliated, ruins their young maids without pay for several years.

On the advice of a friend, Claude, married to the charming Isabelle and father of two, decided to transform his library, hardly flourishing, into a sex shop. This change of activity proves to be very lucrative and sharpens his desire to spice up his married life through various erotic experiences. Claude asks his wife to share with him the audacity he dreams of. Soon, the household meets a dentist and his wife and is engaged, without much success, to new discoveries. Isabelle, full of good will, tries to follow her husband ...

Raphaël, a former paratrooper, is unable to adapt to the constraints of social life. One day, he becomes the unwilling accomplice of jewel thieves and falls in love with Electre, the mistress of Alaphène, their boss. Electre gives herself to Raphäel and incites him to run away with her. The couple tries to reach Monte-Carlo, where the diamonds are hidden, but they are chased by Federico, one of the gangsters who craves the loot as well...

A journalist’s six-minute interview with 25 years old former Nigerian sex worker Marta, is conveyed to the audience without any interruption. The suffering that Marta left behind and the wounds present in her soul are being reopened for the young woman during the interview. This life story that fits in six minutes drags the audience into the traces of the young woman’s past life.

Set during the bloody and turbulent years of the French Revolution, it follows the life and exploits of François-Séverin Marceau, an idealistic and courageous young man who would become one of the most famous generals of the First Republic.

Sabine vows to give up married lovers, and is determined to find a good husband. Her best friend Clarisse introduces her to her cousin Edmond, a busy lawyer from Paris. Sabine pursues Edmond, with the encouragement of Clarisse, but Edmond does not seem very interested.

In a small circus campaign, the act of Valentine, the dwarf, is one of the highlights of the show. But then one night, he grew suddenly and turns into a handsome young man of six feet tall. First mad with joy, he will face harsh reality of normality.

Pehlivan focuses on a three-day wrestling competition, an ancient tradition that dates back over a thousand years to the time of the Ottoman Empire, originating in the games the soldiers would play to entertain themselves in between battles. Maybe that's why there's more than a hint of homoeroticism in the way the wrestlers oil themselves up with grease, making sure to cover every inch of their bodies so that their opponents will be unable to get a grip. Pialat's closeups emphasize the men's muscular bodies jammed together and sliding off one another, posed in intimate, twisted arrangements, struggling desperately for a grip on each other's bodies. Arms are jammed down pants, one of the only places there's some potential for a handhold, and the whole thing is very suggestive and sensual, a form of intimate male contact that's sanctioned as a show of strength and masculinity.